Mass No. 2 in G, D. 167 (1815) Cover Image

Mass No. 2 in G, D. 167 (1815): Full Orchestra Vocal Score

$6.95 USD
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Mass No. 2 in G, D. 167 (1815) Cover Image
Mass No. 2 in G, D. 167 (1815): Full Orchestra Vocal Score

Mass No. 2 in G, D. 167 (1815): Full Orchestra Vocal Score

By Franz Schubert / arr. Freidrich Spiro

Item: 36-A271691
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Description
This is the second of six Masses composed by Franz Schubert (1797-1828), also referred to frequently as the "Mass in G," and it remains the best known of the three shorter settings titled "Mass." Composed in 1815, it was originally scored for choir, string orchestra, organ, and the soloists and remained one of the composer's less-noted works, not even being printed until 1845. But the Mass's later popularity also led Franz' brother Ferdinand to add winds and timpani after Franz' death. And a 1980s discovery of a set of parts that include trumpets and brass, in addition to some minor changes, suggests that Schubert intended something grander than the original scoring.  The current edition may be played with the original strings and organ only or with the addition of the oboe/clarinets, bassoons, trumpets, and timpani. Apart from some passages for the soprano, this Mass has only modest solo passages, and it is written in a devotional mood. Instrumentation: 0.2(opt.subCl).0.2(opt): 0.2(opt).0.0: Timp(opt): Org: Str (4-4-3-3-3 in set): Solo SATB: Mix Chor. The full score, orchestra accompaniment, and choral score are available separately. The piano reduction is by Freidrich Spiro.

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Additional Details
Series: Kalmus Choral Library
Publisher: Keiser Productions, Inc.
ISBN10: 1-63887-396-8
ISBN13: 978-1-63887-396-9
UPC: 735816168742
SKU: 36-A271691
Instrumentation: Mass, Orchestra Accompaniment

More about this title

About the Composer: Franz Schubert

Franz Schubert (1797-1828) composed his six Masses across two decades, beginning as a teenager in Vienna. Though best remembered for his symphonies and chamber works, Schubert brought the same lyrical gift and harmonic sophistication to sacred music that defined his secular output, creating settings that balance liturgical function with deeply personal expression.

The Mass in G stands apart from Schubert's other sacred works in its modest scale and intimate character. Written during his early maturity, it reflects a composer still finding his voice in the genre, yet already demonstrating the melodic generosity and emotional directness that made his music endure.

Why we love this

This score gives you flexibility without sacrificing authenticity. The option to perform with strings and organ alone or to add winds and brass means you can program it whether your ensemble is chamber-sized or full orchestra. The devotional character and modest solo writing make it accessible for singers at many levels, while the harmonic language rewards careful attention to intonation and blend.

What to expect

The Mass unfolds with gentle momentum, never rushing toward emotional climax. Schubert's harmonic language creates moments of quiet luminosity, particularly in the Benedictus, where simplicity becomes profundity. The work feels conversational rather than ceremonial, inviting listeners into reflection rather than demanding their reverence.

Who it's for

Directors leading choral-orchestral programs who want to include Schubert without overcommitting to a lengthy symphony. This works equally well for cathedral and school choirs with string accompaniment, or for full orchestras adding choral texture to concert programming.

How to get the most out of it

  • Consider beginning rehearsals with the orchestral version, but don't neglect the original string and organ scoring. The leaner texture reveals the voice leading more clearly and builds ensemble listening skills before adding colors.
  • The soprano has the most prominent solo passages; ensure this singer can sustain the lyrical line without forcing tone or accelerating tempo during longer phrases.
  • Balance the organ carefully with the strings. It should anchor harmonically without overwhelming the choir or drowning the orchestral detail.
  • Shape the work as a prayer rather than a proclamation. The devotional mood depends on restraint, particularly in dynamics and vibrato from both singers and instrumentalists.

How to use it

Place this in spring concerts alongside other sacred works or classical choral repertoire, where its modest scale provides welcome contrast to larger settings. It also pairs naturally with Schubert's shorter works for wind band or smaller ensembles if you're building a single-composer program.

Skills your students will build

  • Balancing choral blend with string accompaniment
  • Managing optional orchestration (performing the same music with different instrumental combinations)
  • Sustaining lyrical vocal lines across longer phrases without tempo drift
  • Responding to harmonic movement through careful intonation adjustments
  • Singing sacred text with devotional restraint rather than dramatic expression

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